 Lux presents Hollywood Theatre brings you Joseph Cotton, Catherine McLeod, and Otto Krueger in I've Always Loved You. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. On this election eve, that is in our country, we bring you a screenplay that, according to box office figures, is the choice of millions of theatre-goers. It's Republic Pictures' newest hit, I've Always Loved You, enriched by some of the finest music ever written. Our stars are Joseph Cotton, whose reappearance you've so often requested, and a newly discovered artist in the role that brought her stardom, Catherine McLeod, also Otto Krueger in the role of the brilliant conductor and pianist. It's interesting to note, I think, that both Miss McLeod and Mr. Krueger have at some time played their roles in real life, one as a symphony conductor, the other as an accomplice virtuoso. I referred to tomorrow as election day, but actually all of us use our powers of election every day, in what we read, what we listen to, and what we buy. And when it comes to women and their shopping habits, there's a decided preference for luck soap. Among our lovely screen stars, the vote is 9 to 1 for Luck's Toilet Soap, and that, remember, is the ballot of the most beautiful women in the world. And I'm sure in your town, too, the vote is also very much in favor of Luck's Toilet Soap. Here's Act 1 of I've Always Loved You, starring Joseph Cotton as George, Catherine McLeod as Myra Husman, and Otto Krueger as Goronoff. It's 1926 in a Philadelphia music school. The world-renowned pianist and conductor, Leopold Goronoff, is listening to piano auditions. Suddenly, he sees a familiar face in the corridor, and with characteristic rudeness, he bolts from the concert room. Three husbands, my dear old friend. But my soul, the audition, my soul. Oh, Goronoff does not listen to amateurs. Friedrich, what are you doing here? Leopold, oh, it is good to see you. No, no, no, come in this room over here. Leopold, you must listen to me. Let's devil with the auditions, Friedrich. Husband, now tell me what has happened to you, all these... Who are you? My name is... Oh, never mind, never mind. Just sit over there and be quiet. Well, Friedrich, Friedrich, let me see your hands. You know, when I first heard these hands play 25 years ago in Vienna, and then you went to America. To marry a wonderful woman, Leopold. Who ruined you as a musician? You make a farmer out of you, or did they lie to me? You are a farmer, aren't you? Oh, yes, I'm a farmer, Leopold. You are a beautiful and large farm. I have done well. With those wonderful hands, grabbing the earth to raise potatoes. Oh, Leopold, I don't dig potatoes. I have men who work for me, too. I have no doubt I will tell this woman what she has done to you. She has been dead 10 years now. Oh, forgive me, all for it. Leopold, I have a protégé with me. Ha, ha, you too? Well, get him in here. He is a she, Leopold. Oh, beautiful perhaps. They are sitting in the corner as you ordered. Ha, come here, young lady. Yes, maestro. Huh? She does not smile, does she? Perhaps she does not like me, eh? Her name is Myra Hossman, Leopold. She is my daughter. Ah, Myra. Beautiful name. I like your eyes. Now, you will play for me, Myra. Well, there is the piano. Thank you. An etude, perhaps, eh? No, no, no. A few. That will show your father's fine training. Yes? I'd rather not. Bravo! She tells Goronov. She would rather not. Because you are my daughter. Bravo! She tells Goronov. She would rather not. Because you are my father's friend. Because it's his favorite. I'll play the Apassionata by Beethoven. Yeah? I dare you. And it goes on and on. There's no need to finish. Myra Hossman, look at me. You have a great talent. A great... I don't know. All right, I guess. My Goronov said you have great talent. You're his papa. His friend papa. He was being kind. Not about talent, Myra. About anything else Goronov may agree with a friend, but not about music. I think he's rude. Goronov is Goronov. He's rude. Maybe. What? Need dropping by your window. I followed you here. Leopold. Well, invitation or not, I'm coming in. This is not the first window I've climbed into or out of, for that matter. Yeah, so I am rude. Ah, my photograph. Remember when you gave it to me, Leopold? That's the one I like best. You know, that's very good. That shows the height of my forehead. Uh, today, Miss Hossman, you played for me the Appassionata. I said you have great talent. Well, you have, but you made mistakes. I will show you. Now, you listen to my phrasing. Now, listen carefully. That noise! Good! Who is that woman? It's Mrs. Sampson. She's our housekeeper. Hey, Myra, how about... The Appassionata. Anyway, it just goes on and on and on. I play something else. Uh, this is... I composed myself. Now, this is one of my best. Not later now, I'm famished. Have we room for one more? Company? I thought that was you playing. Who else can play that good? Mrs. Sampson, this is Leopold Goronoff. Oh, I'll fix a place right away, Mr. Goronoff. I'm sorry, I'm late. You see, I was just... Oh. George, this is Mr. Goronoff, the very great pianist. Mrs. Sampson, son Leopold. How do you do? I've heard all about you from Myra. She plays a lot of piano, too. Oh, yes, a lot of piano, yeah, but it's not all good. You run the farm, George? Well, I run the tractor that makes all that noise. You will show me the farm later. You're staying? Yes, I think so. This place of yours, Frederick, has a lot of charm. Tomorrow I go to New York. I have a concert to conduct, and Saturday I go to Europe. Europe? How exciting. I was sickening. I have not the slightest wish to go. Freddie, girlfriend, would you have a room for me here? Leopold, I will, of course, certainly. But how long? A week, perhaps. Oh. Or a month, or six months. Miss Hosman, you like I stay here? It would be wonderful. Wonderful, huh? Yeah. Yeah, I will teach you. And when I get you at the piano, I'll have you wishing you'd never met Goronoff, but I'll make an artist out of you. Yes, even as great as your very great father. She's gone? You got rid of her. I'm safe now, huh? Yes, you're quite safe now. You're laughing at me. No. But I'd like to. Why? Well, she was very pretty with lovely red hair. Now how did she discover I was here, huh? Maybe she reads the newspapers. Is that why you stayed with us to escape from a woman? That is insulting. Also, it is not true. No, I don't know. But you did get rid of her, you did. Yes. Great favor. A great favor. You know, Myra, this place where I've been hiding, no, what is this? Just an arbor with vines and a fountain. It's my wishing room. You're what? Your wishing room? Now talk to me, Myra. How long is it now we work together? Four weeks. And yet you've never shown me this place. Why? Because it's my own little corner. A place for dreaming things. You're what, for instance? Well, the time might stop. Today might be for always. Sometimes when you've been busy, when you've been playing, I'd come here and dreamed you'd never go away. I must go away today. Well, I said I'm going away. Yes, Master. Yes, Master. Is that all you can say when I tell you I'm leaving? I... Don't turn from me. Myra, I'll take you with me. How would you like that, huh? I'll take... Oh, here comes your father. Frederick! Frederick! Come here, I want to talk to you. Yes, Papa. I would like to take Myra with me. Myra and my mother. She's in New York. Myra, my dear. Leave us together for a moment. I'll be at the house... Come here, hold this gate, will you? Oh, George, I can't, I can't. Paris, Vienna. Goronov wants to take me with him to teach me. Wish for me, George. Wish that he'll let me go. If it's what you want, sure, I'll wish it. Myra, there's something I've got to tell you. I know this isn't the time or the place. Myra! Yes? I am, darling. If I were you, I'd start packing my bags. George, I'm going, I'm going. Yeah. Goodbye, Myra. Goodbye, and good luck. What else does she say in her letter, George? Says, what a wonderful person is Madame Goronov, my dearest friend, ever since Papa placed me in her charge that day in New York so long ago. Please tell Father that last night, the maestro played the Emperor Concerto to a crowded house. The audience applauded for ten minutes. That was in Paris, George. Yes. We leave for London tomorrow. After London, I'm not sure where the maestro will decide to go. Then she says, be sure to write her soon and give you her love. George, when you write, no word about my illness. No, Moustache. Over a year, she has been gone, George, over a year. Butterball, another letter from your Papa. That one's from George, Madame. What does he say? Never mind, I will read it myself. The earth is brown again, and the vines cover the walls of your wishing room, same as before. I go there often to think about you. Butterball, who is George? Like a brother, Babushka. He's lived with us on the farm as long as I can remember. He is big, strong, nice to look at. Well, yeah, I suppose he is. Maybe you love him? Babushka. He thinks about you. Farmer, get to the piano, Butterball. Practice. Sometimes you're more of a slave driver than this son. You have not worked on your shop in North Thames all week. All right, a nothing. Well, why do you stop? You're not tired. I'm tired. Tired of what, Lothar? Tired of concerts. Tired of Europe. Tired. I'm tired. All right, we will go to the Riviera. No, no, we go to South America. Nicholas. Yes, I do. Get tickets for South America. They are South America. He does not know. Some place is South America. Some place, South America. One day, Leopold, Nicholas will see what an unreasonable man you are, and you will be without a single... Oh, I am the easiest man in the world to get along with. Why not? North America, Meister? Well, because Rio de Janeiro is in South America. Rio? Yeah, I've just decided. Listen, and Chopin is already dead, Myra. Must you kill him all over again? Now, look at that music. Yes, Meister, but you don't fight me. And I've never been so happy in my life, Father. Rio is wonderful. And the house we live in is the most beautiful. Myra, where are you, Myra? Just writing to Father. Ah, I've been out buying a present. Here, Myra, for you. Oh, no! No, no, no. Stand still, stand still. I dress you in a lovely shawl if I want to. Voila. You like it? Oh, how lovely. All right, now. Rachmaninoff, see my concerto. That e-major theme you've been working on? She has been writing a letter. Let her know. Ma-ma-ma, please. Yes, I've been working on it, but I'm... All right, then. Come, show me. Come, play, play, play. Theme, Myra. Listen, why do you let the lesser theme cream up so? It shades the heroic. It makes it weak. And take that stupid shawl off when you're playing. Now, get up, get up, get up. I'll show you what I mean. This theme is the lesser one. Now, the male theme. I am the man, it says. I am the man. I am the man. You said something? Oh, I said, I am the woman. It should be so. All man, Myra. For there is no woman in music. Now, remember, no woman in music. So, tonight we shall work on it again. No, not tonight. Why not? Because tonight there is a woman. The one with yellow hair. Oh, that's right, I forgot. Another one. This is one that's different. She's very charming, very beautiful. They are all very charming and very beautiful. I cannot work all the time. What is so wrong? You are angry with me. No, I'm angry at myself for making explanations. Someday, one of these women will catch you tight by the nose, and then she will marry you. Never. Well, I go on and put on my best suit, Nicola. Such a talent you are, Leopold. And such a dance. From then, George? Yes. And what does he say? The busker, he's gone. My father is dead. My love. Quietly in his sleep, George says. Frederick Hartman. Such a great musician. And you, Myra, he gave it all to you. He bred it into your hands. I know, little one. Myra, you must do something. Do something, Myra. Now what? Well, she's in the patio. That woman, you remember that blonde one last week? She says I promised to marry her. Don't you always? Myra, Myra, I'm not home. Anything. Tell her please to go away. I'll try. You can relax, Myra. She's gone. Now how? How did you do it? I showed her this. A wedding ring? Where did you get that? No, not a wedding ring. Just a ring. George gave it to me. See? I turned it around with my finger. Oh, magnificent. Yes, we can get rid of them all that way, huh? Well, what's the matter? My store, my ready for a concert. What was that? Well, not important works, perhaps, but I could play some of the lesser ones. Lesser? What is lesser? What is important? Please, will you stop playing with words? Oh, so you know all about Goronov now. You know exactly when he plays on words. Don't you think it's about time I did? Well, now you want to concertize, huh? Is that so wrong? No, no, that's good. You'll let me? Well, of course you can play. Let me see Rachmaninoff second, eh? You're in real? No, of course not. A smaller city. Ah, you will play Rachmaninoff in New York. And I will conduct. We'll show them what Goronov can make of their in-nobody. New York, home. Oh, thank you, thank you. Nicholas, we go to New York. Nicholas! In a moment, we'll continue with act two of I've Always Loved You, starring Joseph Cotton, Catherine MacLeod and Otto Kruger. Meanwhile, here's our Hollywood reporter, Libby Collins. With news about a brand-new star, Mr. Keely. I'm all ears, Libby. Who is it? Mona Freeman. She's soon to be seen with James Dunn, as the co-star of Republic's new picture, that Brennan girl. Oh, yes. And from what I've heard about that Brennan girl, she's going to be quite a hit. Tell us about her, Libby. Well, this is Mona's first starring role, though she's appeared in other films. But you might say she was acting under a handicap. Why, what was that? Well, it's a difficulty most women wouldn't mind coping with. You see, Mr. Keely, Mona always looks younger than she is. At 17, she photographed as though she were 11. Hmm, I can see that might worry a teenager. Even now, at the ripe age of 20, Mona has trouble looking at it. But she has no trouble being a fine little actress. James Dunn, who's a veteran of the screen, was very impressed by the way she played her difficult role. When I saw the preview, Libby, I couldn't decide whether she was prettier in pigtails or a sophisticated evening dress. Didn't you think she was especially lovely in the close-up, Mr. Kennedy? Mm-hmm. That little girl complexion of hers showed to its best advantage then. A luxe complexion, as of course you know. Mona has used luxe toilet soap since she was very young. She couldn't have used a gentler, more effective care. No wonder nine out of ten screen stars depend on luxe soap daily active-lather facials. Yes, it's such a quick, easy beauty care. Screen stars just smooth the luxe soap ladder well in, rinse with warm water, splash on cold, and pat with a soft towel to dry. They like the way the soap with creamy active ladder greaves with delicate skin. It's a beauty care that really works. Tests by skin specialists showed that. Three out of four complexions improved in a short time with daily luxe toilet soap care. Now, a word to the ladies in our audience. Why don't you try these beauty facials with Hollywood's own complexion soap? Here's Mr. Keely at the microphone. Act two of I've Always Loved You, starring Joseph Cotton as George, Catherine McLeod as Myra, and Otto Kruger as Godenau. It's a few weeks later and Carnegie Hall is filled to overflowing for the great pianist and conductor Leopold Godenau has returned to New York. It's over now, and the second portion of the concert is underway. The Rachmaninoff Concerto in C minor. Myra Hosman. Spellbound, the audience turns its eyes from Godenau. Big passages ring brilliantly through the concert hall. The audience knows it is hearing the pupil excel her master. Godenau knows it, too, and his face clouds with rising anger. For Myra Hosman, it is a moment of triumph, of triumph and heartbreak. A success? I was only teasing you, mademoiselle. Just now I spoke as a telephone to my friend in the Bach's office. Superb, he said, you were almost without parallel. Nicholas, you've prepared the supper. Everything as you ordered it. I know what tonight means to you. No, you don't, Nicholas. Is something wrong? Yes. Well, do not let it bother you. Later, he takes the partridge. His favorite champagne will come inside, mademoiselle. Let me show you. Please, I'm sure it's all very nice. Please go away, Nicholas. Very well, then. I go away. I don't know. I was frightened. I just wanted to get away from the people from... Your mother's not with you? She took her own car tonight. Why? Why you don't wish to be alone with me? I'm sure I'm behaving very stupidly. I've been this way all evening. I played badly, too. If it hadn't been for your orchestral support... Maestro, you were magnificent. How dare you? How dare I? And now you were the master, is that it? Is that what you were trying to apologize for? No, no. Don't lie to me. I know what you tried to do tonight. You wanted people to say, look, Goronov's pupil is a greater pianist than he is himself. No, no, Maestro, no. Maestro, Maestro, how dare you try to imitate me at the piano? My style, my technique. Clever world show. And what is that in there? The table spread with food. You would fix wine for me. What do you need at my feet? All the while trying to steal that which is mine. That is not true. You must believe me. Soon there will be another concert. I will play the piano, Myra. I will play, and then the fools will see. They will see you for what you are, a little plow girl good to grub in the earth. You jealous of me? Now get out of here. I said, get out. Her eyes so full of tears, she could not even speak to me. She kissed me and went away. Why? Why did she go away, Leopold? Because I sent her away. What difference does it make? More than you know. It means you admit she is greater than you. That is ridiculous. No, that is truth. Good night, Leopold. Good be George, eh? Yes. Honored to see me. Won't you come to the house? No, I will just sit here in the car and talk to you for only a moment. For two years you were just a name on a letter. As always, George. Now I see you, I like you. You are a nice boy. Well, thank you. Uh, Mr. Gorinoff isn't with you? No, no. At this moment, my son is in Carnegie Hall. That piano, that is Myra playing? Yes. She knows too well my son is. What he is doing. So she talks to him. Talked? Her voice is the piano. She says, I am here my stroke. I sit beside you. I play as you play. I don't understand. No, you would not understand, nice boy. Maybe Leopold would not understand either. But he will hear her. You said he's in New York. What difference? Walls cannot stop that voice. Distance, time, nothing. You are in love with her, nice boy. I've always been in love with her. But I did not know. Well, I go now. Aren't you going to see Myra? No, no, I have decided. It is better if I keep my mouth shut. I go home. You want to marry her? Very much. Then fight for her. Fight for this woman. We go home, not Thomas. I just want you to stop playing. What is it, George? What's the matter? Myra, Myra, you've been living in a dream. Have I? Sometimes I think you're in love with a dream. Women don't fall in love with dreams, George. They fall in love with men, with one man. When they do, they listen for that man's footsteps in the morning. Their day starts when he smiles, and they wait to see him again at night, to watch him while he eats, watch the light of a reading lamp as it plays in his face and touches his head. That's what happens when love comes to a person, George. Someday it'll happen to you. It has happened to me, Myra. Why didn't you tell me who is the girl, George? You. But I don't mean that kind of love. Neither do I. I suppose I didn't say it very well, and it isn't something that just happened all of a sudden. I've always loved you, Myra. But that isn't love. Not real love. Maybe not for you. For me, it's the most real thing that's ever happened in my life. It tells me that without you, there isn't much sense to anything. But you don't have me. I'm home again. I'm going to stay here. I'll be working with you, talking with you, sharing my dreams with you if you'll let me. You're a wonderful person, George. I need someone to help me over the rough spots. I've always understood that was a husband's job. You'd marry me? Knowing... knowing how I feel about him, Gorna, if every cause of... I love you, Myra. I'll take that chance. But that's impossible. Why didn't you tell me, Babushka? Why didn't I know? You've been in Europe for six months. Well, I would have come back. That's why I did not let you know. She is mine. I created Myra. She is mine. Myra is not for you, my son. She, nor any other woman. Music is your wife, Leopold. Babushka, I love her. She is not for you, Leopold. Not now, or ever. The doctor says now, what are you doing out of bed? You have eyes? I'm wrapping a present. What's that? A little silver corp? Who is the present for? Myra's little girl. She will soon be one year old. No. I take it to her on my shelf. No, you will not. For two years, I have kept my promise to you. Never to see Myra, never to go near her. You will continue to keep your promise. I beg you, Leopold. Forget her. I've tried. I cannot. Play for me. I'm very tired. Play for me. They are babies three years old, little Paula. If only my father could have lived to see her. Goronov recital thrills royal audience in Stockholm. Paula went into the second grade today. I refuse to believe she is six years old already. Incredible. Goronov recital enrages Nazis. Celebrated conductor must leave Germany within 48 hours. It's paper. Goronov's been ordered out of Germany. I saw it. George, did you look in on Paula? Is she asleep? Found asleep. Myra, play something on the piano. You realize it's been months. I'm never going to play again, George. Never. I started too only because of Paula, because you begged me to play for her. If Paula ever wants to play, we can find her another teacher. You can't forget him, can you? George, God's been good to me. I'm very happy. I have you and Paula in my home. Can't we leave well enough alone? We could if you were really happy. It isn't what you have that makes you happy, Myra. It's what you give. But I tried to be a good wife to you. I've given you all I have to give. All except you. That isn't true. If a man can't have all of a woman he might as well have none. I wish you'd thought of that a long time ago. Myra, I'm not trying to go back on a deal. It's just that you're missing so much. I am or you. Both of us. And for no reason. I'm not afraid of Goronov. I don't know why you should be. Right, dear? What is it you want me to do? I want you to know yourself. I want you to forget a dream, especially when the real thing can be so much better. I don't mean I'm the best husband in the world, but put it all together, darling. We've been lucky, really lucky. Think about it, Myra. Please. Oh, and I'd like you to play again. Music in the house is a fine thing, Myra. Don't ever let me see Goronov. Dear God, don't let me lose the things you've given me. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In just a moment, we'll return with the third act of I've Always Loved You, starring Joseph Cotton, Catherine MacLeod, and Otto Krueger. It seems to me our guest of this evening really ought to be introduced with a fanfare of music, dance music, the Latin American kind, Rumba, Samba, Bolero, Flamenco, Miss Olga San Juan, I understand you're expert at them all. Muchas gracias, Señor. I think you must have seen me in my very first appearance on the screen. Indeed I did, and enjoyed your work thoroughly. And so did I. A whole picture of dancing and singing. The things are like best to do. I dance and sing in my latest paramount picture, Blue Sky. And do both beautifully. Tell us how you began that very active career of yours, Olga. My parents were from Puerto Rico, but I was born in New York. When I studied dancing and singing from the town, I was a little girl. I gave concerts at high school. Then I appeared at El Morocco and Copacabana, New York. A Paramount talent scout saw me and I came to Hollywood. And now you sing with Bing Crosby and dance with Fred Astaire in Paramount's big new musical, Blue Skies. And it was thrilling to be in the same picture with such famous stars. Imagine Bing Crosby and Joan Caulfield. I like her. She's very pretty. Joan's a real blonde beauty, isn't she? She looks especially lovely and technicolor. I see a striking example of blonde beauty right before us. You're very kind, Mr. Kennedy. You know, Miss Caulfield and I are alike in one way. We're both lux girls. Lux toilet soap is a wonderful beauty soap. I use it as a bath soap, too. After a strenuous dance routine, it makes such a refreshing bath. Es maravilloso, as we say in Spanish. Gracias, señorita. I must say, with your dark hair and fair skin, you're a dazzling lux girl indeed. Lovely stars who must protect complexion beauty depend on lux toilet soap to give skin gentle, cherishing care. It's a quality soap made of the finest ingredients. Enjoy it as a bath soap, too. See if you're not delighted with the delicate, flower-like fragrance lux toilet soap leaves on your skin. Mr. Keely returns to the microphone. Act three of I've Always Loved You, starring Joseph Cotton as George, Catherine McLeod as Myra, and Otto Kruger as Gorona. Ten years have rolled past, and Myra has found a full measure of contentment in her husband and her daughter Paula, now sixteen. But memories of another man still haunt Myra like a ghost. George knows it, and so does his mother. Before George and Paula get back from Philadelphia, a spring rain won't bother them. Remember last winter? Twice a week, regularly, they have to go to Philadelphia. After all this time, I'm beginning to get a little curious. Haven't they told you what they're up to, Mother Santa? Well, not exactly, but I wouldn't worry. Myra, how long since you've been to New York? Not since George and I were married. How long since you've been to a concert? The same. And I think I know why. Do you? Does George know why, too? Yes. I've never seen Gorona. George knows that. I never want to see him. That's just the trouble. I'm never going to see him. I've got what I want. I'm nice if George had, too. What was that, dear? Nothing, nothing. Just said if it's going to rain, I'd better get in and close some windows. Come, Myra. Myra. Well, there she is, Professor Severin. Hello, darling. I want you to meet Professor Severin. We've invited him to dinner. Well, how do you do? Please forgive me, Mrs. Ampter, but I did want to meet you. Well, I'm very happy you came. Won't you sit down? Mrs. Ampter, excuse me for staring. Your name was once... Well, honestly, Myra, I didn't tell you... Myra. Myra Husman. Why, I heard you play in Carnegie Hall with Garlnorth. Yes, yes, of course. Myra, Myra, darling, Professor Severin has been teaching piano to Paula for quite some time now. So that's the big mystery. Well, at last. Mystery? You didn't know? Well, it's been our big secret. Paula's in mind. I'm, I'm delighted. But as for your remembering me, Professor Severin, it was all so long ago, really. It was like yesterday to the maestro. Maestro? Garlnorth. After he stopped concertizing, I studied with him for many years. Surely I mentioned that, Mr. Samter? Oh, yes, I, yes, I, I believe you did at that. The mother, Professor Severin, has just been made head of the conservatory in New York, and he wants me to continue with him at the conservatory. But that would mean you'd have to live in New York. Yes, dear. But I, I never dreamed what, what I mean is... We could wait till the winter, but I must have her then, because she's a concertizer in the spring. Rather critical at Carnegie Hall. Carnegie Hall. She's your daughter? Why not? I've been asked to conduct some of the spring concerts. One of them, Paula, I could set aside for you, for you and the Rachmaninoff Second. I won't have it. Mrs. Samter. Mother. I, I'm sorry. I shouldn't have said that, but I must think it over. When she thinks it over, the answer's always yes. I think you're more excited about living in New York than about a, about a concert. I wouldn't count on either, Paula, darling. This time the answer may be no. Well, George, don't you think you could offer the professor a drink? Oh, yeah, sorry, sir, right away. What a day. Am I glad we don't live in New York. To find an apartment? Yes. Why, the laugh I did. The laugh is because I knew you would. When mother thinks it over, the answer's always yes. Three rooms, kitchenette and bath. It's very nice. Room enough for me, too. For you? I want to be with her, George, for a while anyway, before the concert. Oh, well, that's not all me. I thought you were both running out on me. Say, does Severin still insist on Carnegie Hall? Yes. Well, Paula be ready? I don't know. What if she's just another little girl who plays very well, but... But not good enough for the critics? If she isn't good, they'll break her heart. I've seen that happen, George. I've listened to audiences laugh a novice off the stage. Well, it seems as though there must be someone in his opinion we could trust. What about Goronov? No, George. You could take her to Goronov. He'd know, and he'd tell you the truth. No. If he's the only one we can trust, then we'll do it without an opinion. George, please. Just an idea, darling, but whatever you want. Hello, dear. Come in. My dear, you look beautiful. Thanks, but why the whisper? Paula's trying to take a nap. We can talk inside. I hope she isn't as excited as I am. It's just a dream, isn't it, George? Our baby playing in Carnegie Hall, and exactly... Four hours and 12 minutes have just looked at my watch. And I remember another little girl who played in Carnegie Hall a long time ago. I almost wish it were that same little girl who's going to play tonight. Oh, jealous of your own daughter? No, George. Worried. Terribly worried. But Paula doesn't know her notes. Why, Severin says... I'm worried that she doesn't feel the music that's hidden in those notes. That she just doesn't understand them. Oh, Severin will carry her through. Severin can't help it. No one can if that's true. Now, these weeks you've been here, Myra. Have you taken her to Goronov? You know I haven't. George, please. Let's not start there. Why not? Because if you do, I may tell you what I think. That this whole situation is something you very carefully created. If you said that, you'd be right. I want you to see Goronov. And all this? Paula's trips with you to Philadelphia, Severin, New York, and now a concert. All because you want me to face Goronov? Sometimes we don't deliberately plan things, Myra. Often things just happen to fall into place. But now that it has happened, perhaps it's just as well. All right? Let's find out how we stand. Don't, George. Don't. You may discover that. I've lost you. That's what's in your mind, Myra. Than I never had you. I'm going into Polo now. Goronov's in town. And I'm telling Paula that you're taking her to see him. Yes, what is it you want? The master will see no one, no one. I think he'll see me, Nicholas. Oh, you think he will see... Miss Harsman. Oh, Miss Harsman. And my daughter. How do you do? Oh, come in, come in. I will tell the master immediately. Immediately. Oh, I'm scared, Mother. I'm terribly scared. Oh, golly, what an apartment. Look on the wall there, that portrait. That... that was his mother. Why didn't Daddy come up with this? Why did he want to wait in the street? Didn't he... Maybe he thought the two of us would be enough. Myra. Myra, my beautiful, well have you been. Thank you for seeing us, Master. This is my daughter. Your daughter? Oh, Myra, let me look at you. Nicholas, shut off the phones, everything. Lock the door and go out of it. Yes, my instrument. Oh, Myra. Myra, you're ageless, ageless and beautiful. Many times I said to myself, she too must be growing old, but that's a lie. That's such a lie. But I am old. It's so old that my daughter is ready to make her debut. Her debut? But that is impossible. Well, how can she do that without first playing for me? Oh, oh, I understand. You have come to God enough to have him make you ready to concertize, eh? She's been studying with Severin, nice girl. Severin, Severin, a big Scandinavian who makes so too much noise, a bad musician. Oh, but he's not. Well, well, I've not seen him conduct, but they tell me that he shakes his head all over the place. You like his hair, huh? Very nice hair. Nice hair? Not as gray as mine, huh? After all, he's your teacher, so he must be perfect, huh? Paula is playing at Carnegie Hall tonight. I would like you to hear her just for a few minutes. What? Tonight? Carnegie? Why didn't I know about this? Well, well, well, sit down, sit down, young lady. Sit down and play. Show me what you know. I'm very nervous, leave it. You will not be nervous. I will be well, Paula. Thank you. Now, Paula, I want you to leave now. I want to talk to your mother. Oh, but of course. Come along with dad, mother. I do have to dress up. I'll be there to hear you tonight, Paula. Bring you luck, eh? Thank you. Really, I'd better go with you. Nonsense. Why did you do that? My rudeness has not changed, my love. I would do anything to be alone with you again. So many years. You've never wondered why I did not come to you. No. Don't lie to me. Very well, I did wonder. I made her a promise, my love. She did not want me to see you. But now you have come to me, why? To ask for the truth about Paula. My love, why did you do it? Why did you marry that man? Because I loved him. You married him because you were angry with me, because I had hurt you, and all through those years you've been unhappy. That isn't so. Well, then why are you here now? Your daughter? Now, what difference can it make whether she plays well or not? She is a woman. Once long ago I told you there is no woman in music. You remember that? I remember. Music is a man always will be so. His daughter of yours, when she go out into the world, she will meet a man, acknowledge him to be your master. And that is as it should be. As it should have been with you because I am your master. You're wrong. Very wrong. Am I? Give me your hands. I made these hands. And then you took them away only to find out that without their master they were lost. They were nothing. Now why do you turn away? Are you afraid to look at me? I am looking at you. And I'm not afraid. And I tell you that you're wrong. I got a taxi. Well, I'd rather walk. Dad, we have time. Fine. What did you say about mother? I guess Mr. Gore enough wanted to talk to her. He's rather a forceful person, isn't he? Ah, yes, they are rather. Mother will be along soon, I'm sure. I hope so. Dad, such a solemn tone. I hope so. You seem quite gay. Gore enough was complimenting him. He said nothing really. I've known the answer. I've known it for weeks. I just haven't got it there. Oh, but I've heard you play perfect. Not one wrong note. I've heard your mother strike a lot of them. That doesn't mean anything. One beautiful passage played by a real artist. And you forget all about notes. But I like the way you play. Maybe you just like me, Dad. Do you? Paula. Paula, baby, what are we going to do? I don't know. Dad. Dad, I do know. I'm going back. Where? To Mr. Gorenoff, to Mother. Dad, she could do it. She could play. Paula, it's impossible. No, no, it isn't. At least I can try. Wait for me, Dad. I won't be long. In the Rachmaninoff Second Concerto, introducing Miss Paula Samter as the piano soloist. Miss Samter will not appear. In her play, she will hear a pianist who I am sure will be quite acceptable. The mother of our young artist, performer Myra Hosman. It is also a great honor to relinquish the conductor stand to Mr. Leopold Gorenoff. You say I am not your master? Get to the piano. Always known it. Brilliant acting have given us a long-to-be-remembered evening in this theater. And here are tonight's stars of the footlives for a curtain call. Joseph Cotton, Catherine McLeod, and Otto Kruger. I'm sure about that you'll agree that Ignaz Hilsberg deserves a compliment for his musical contribution to our show tonight. I agree there too, Joe. Certainly was a superb performance music wise. Now, coming from you, Otto, that's special tribute. I understand you gave your first piano concert at the age of 12. First and last, if you must know the truth. What happened, Otto? I put a little too much jive in Wagner. Catherine, we know, is also a talented pianist. How about you, Joe? Well, my piano playing is what you might call two-dimensional. Two-dimensional? Yes, you not only can hear it, you can smell it. Oh, Joe, I'm sure you're just being modest about it. Catherine, now that our audience has admired your acting, I wish they could also admire your personal beauty. And what I trust is a lovely luxe complexion. Thank you, Mr. Keely. It's true I always use luxe toilet soap for my complexion. It's a wonderful help. What's on your order for next Monday, Bill? Next Monday night, we bring our audience another new exciting screen hit, Columbia's Gallant Journey, starring in their original roles, Glenn Ford and Janet Blair. Gallant Journey is the unusual dramatic story of the man who made the first control flight. A young genius whose love for flying was matched by his love for the woman who stood by him through his trials and struggles. With Glenn Ford and Janet Blair, that ought to make a great hit, Bill. Good night. Good night and many, many thanks. Our sponsors, the makers of Luxe Toilet Soap, join me in inviting you to be with us again next Monday evening, when the Luxe Radio Theatre presents Glenn Ford and Janet Blair in Gallant Journey. This is William Keely, saying good night to you from Hollywood. Joseph Cotton and Otto Kruger will soon be seen in David O. Selznick's production, Jewel and the Sun. Catherine McLeod will soon be seen in Frank Porzeggi's picture, Gallant Man. The third in our cast tonight were Noreen Gamil as Madame Goronoff, Daphne Drake as Paula, Norman Field as Husman, and Janet Scott, George Neese, Jane Ovello, Guy Kingsford, and Charles Seal. Our music was directed by Louis Silvers. This program is broadcast to our men and women overseas through cooperation with the Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear Gallant Journey with Glenn Ford and Janet Blair for lighter, finer, better tasting cakes for tender, flaky pastry for crisp, golden fried foods for all you bake and fry, it's fry. The pure, all-vegetable shortening. Be sure to listen in next Monday night to the Lux Radio Theatre presentation of Gallant Journey with Glenn Ford and Janet Blair. This is CVS, the Columbia Broadcasting System.